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Figural art
Importance of emblems
Animals and birds in art
Expression of divinity as sacred images
TEMPLE STYLES
EARLY INDIAN SHRINES
Before the beginnings of the Christian Era the major cults of Hinduism had emerged.
Elaborate rituals and ceremonies were rapidly evolved for the worship of divinities and myths
and popular legends flourished
Literature developed during these period were Vedas, Brahmans and Upanishads (for the
priests) and epics (Ramayana & Mahabharata) puranas (for common people)
Epics remain as examples the richness of the contrasting cultural traditions and expresses
the characteristic feature of the new religion
In the puranas & epics , the earlier pantheon of Vedas are completely overwhelmed by new
repertoire of popular cults
Driving a tunnel (man height) till beneath the place where ceiling would be
Widen & deepen by cutting steps
Two workers as pair one stonemason for rough work and another to clean and polish
Incised colonnade on polished rock and divided remaining area into square panel.
Further carved inwards till the required depth and width.
STRUCTURAL ROCK CUT ARCHITECTURE developed initiating rock cut techniques of
carving caves which is evident in mahabalipuram rathas.
Mass of the temple and sanctuary were built of stone slabs developing a quasi-monolithic
temple form
Intricate ornamented motifs were carved out at joints almost making it invisible.
Another leading feature of hindu temple architecture is the emphasis of carving of surface
ornamentation as the principal visual language.
1. GARBHAGRIHA.
5. ENCLOSING WALL
2. MANDAPA.
3. ANTARALA
6. PRATHIKSHANA PATH
4. MAHAMANDAPA
7. ARTHA MANDAPA.
COMBINED STYLE
Siva temple linga or phallic emblem in the cella, on eastern side & an effigy of
the sacred bull is there in front of the cella.
Vishnu temple above the spire of the vishunu temple will have a disc or wheel
statue of deity.
Another thing which distinguishes was the lintel of the doorway to sanctum. On
these principal images were carved back , west and center.Carvings mostly
related to the particular deity enshrined within.
Though different temples were built during different ages they had certain fundamental
principles which is controlled by the act of building in all its phase. they had also some
well established technical code.
there were two institutions, seni or guilds they do practice. silpas or canons of arts
professed to do for the theory. they had vastu sastra or rules of architecture .
It contains detailed directions for the proper construction of every kind of buildings like
religious or secular.
Indian masons didnt prepare the materials on the site of the structure ,but from the
quarry itself, often some considerable distance away.
GUPTA PERIOD
CHALUKYAN
RASHTRAKUTHAS
PALLAVAS
CHOLAS
PANDYAS
INDO ARYAN STYLE
GUPTA PERIOD
12
3.75
Sq M
CHALUKYAN PERIOD
CHALUKYAN PERIOD
Built shrines for Aryan
Gods in their capital city
Aihole
Craftsmen were familiar
with the Buddhist rituals
and traditions of Gupta
sculpture
No experience in free
standing monuments
They picked the
santhagar or the
assembly hall of the village
council as their model
Adopted the timber
structure to stone masonry
and the plan from village
assembly hall
CHALUKYAN PERIOD
The Hindu structural temple took its introductory form during this period.
Unlike the Gupta shrines the Chalukyan temples has the pillared assembly hall called
mandapa..
E.g. LADHKHAN temple and Durga temple at Aihole.
CHALUKYAN PERIOD
LADHKAN TEMPLE
LATER ADDITION
CHALUKYAN PERIOD
LADHKAN TEMPLE
When Gupta shrines were
built in central India &
Northern India,Chalukyans
started to get over the
power in southern India.
The first efforts of the
Chalukyan are
represented by a
considerable group of
stone built shrines and
temples at Aihole.
In shape it is a Square and
comparatively low ,flat
roofed building. The plan
has fifty feet in all side.
CHALUKYAN PERIOD
LADHKAN TEMPLE
CHALUKYAN PERIOD
LADHKAN TEMPLE
CHALUKYAN PERIOD
LADHKAN TEMPLE
In this Ladhkhan temple ,
we can see the beginning
of the asana meaning
stone seating ,in the
portico.
BRACKET Capital
LADHKAN TEMPLE
BUILDING MATERIALS
Walls Cyclopean Stones without binding materials
Roof Gargantuan stone slabs
CHALUKYAN PERIOD
The roof has the flat
slab. In its entire length
the grooves are
chiselled.. Long narrow
stones are placed fitting
into the grooves. this
type of roof got its
concept from timber
structure.
Projecting edges of the
roof slabs were rounded
off to imitate the original
thatch overhang. Even
bamboo ribs holding the
thatch down are
reproduced in bulky
semi-cylindrical stones.
CHALUKYAN PERIOD
DURGA TEMPLE
This is the brahmanical version of
the Buddhist Chaitya hall adapted to
suit the service of the former belief.
The seventh century Durga Temple
at Aihole is dedicated to Lord
Vishnu. It took its name from the
Kannada word "durgadagadi" or
"temple near the fort."
pteroma
24
CHALUKYAN PERIOD
DURGA TEMPLE
36
24
DURGA TEMPLE
CHALUKYAN PERIOD
DURGA TEMPLE
Niches enclosing bold figure
sculpture adorn the walls of the
sabha mandapa and garbha griha
along the pillared corridor.
It is raised on high and heavily
molded plinth or stereo bate.
Over the apse a short pyramidal
tower or sikhara has been
subsequently added.
pteroma
36
60
24
CHALUKYAN PERIOD
PAPANATH TEMPLE
The Papanath temple erected before
the end of the 7th century reveals in
experience in architectural design.
This plan lacks correct placement of
the main parts and a logical inter
relationship between them.
30
90
CHALUKYAN PERIOD
PAPANATH TEMPLE
Dedicated to Mukteswara
according to inscriptions, this
modest temple seems to have
been completed around 740 A.D.
There seems to have been a
change of intention during the
course of construction of this
temple as can be known from its
too narrow circumambulatory
path whose floor slabs conceal
the external moulding of the
garbhagriha walls and the
buttress like projections of the
north and south garbhagrihawalls into the ardha-mandapa,
both of which are unusual
features.
CHALUKYAN PERIOD
PAPANATH TEMPLE
Facing the east, this temple has on plan a sanctum (garbhagriha ) surrounded by a
circumambulatory path (pradakshinapatha) with niches (devakoshtha) pavilion along its
three walls, an ardha-mandpa, a sabha-mandapa and an entrance porch (mukhamandapa)
Curiously, but an ornate image of Nandi is housed in the eastern half of the sabha-mandapa.
there is no Nandi-mandapa
The temple is built on a plinth of five mouldings, embellished with animal motifs, floral designs
and kudus.
CHALUKYAN PERIOD
PAPANATH TEMPLE
The interior still bears the
influence of rock cut architecture .
The string courses surrounding
the building resemble strong
braces holding the structure
together.
The decoration of the outer
surface consisting of repetitions of
elements of bas relief shrines in a
triangular pattern on the canopies,
shows little under standing of
architectural ornamentation.
CHALUKYAN PERIOD
PAPANATH TEMPLE
The wall surfaces are relieved with niches (devakoshthas)
housing Saiva and Vaishnava deities and depicting episodes
from the Ramayana.
These niches are topped by various designs of chaitya-arch
motifs and interspersed with perforated windows.
The three devakoshtha pavilions house images of Siva in
different forms.
Pillars of the entrance porch bear Kinnara couples and
engaged columns have the figures of Dvarapalas. Lions and
sardulas are carved at the corners above the entablature and
the ceiling panel depicts dancing Siva with Parvati and
musicians and flying figures.
CHALUKYAN PERIOD
PAPANATH TEMPLE
Pillars and pilasters of the other
mandapas are relieved with mediumsized graceful sculptures of damsels
and couples (mithunas) in playful
moods.
CHALUKYAN PERIOD
VIRUPAKSHA TEMPLE
The temple plan has the
garbha griha surrounded by a
pradakshina path which
Opens into a large columned
mandapa .
The mandapa is wider than
the Sanctuary and
circumbulatory passage.
The nandhi shrine stands in
front of temple and an
enclosure walls surrounds the
temple.
The enclosure wall of this
temple interlock by a diagonal
arrangement which is unique
in Indian temple architecture.
CHALUKYAN PERIOD
VIRUPAKSHA TEMPLE
It has tall vimana ,square plan
from base to sikhara and rising
in four storeys.
Five bays adorn its outer walls
on all sides except the western
porches lead to the multi pillared
hall.
Over the parapet at the rear of
each porch rises an embryonic
gopuram,which resembles an
additional storey over the
entrances to the mandapa.
From the 3rd storey of the
vimana projects the sukanasika.
CHALUKYAN PERIOD
VIRUPAKSHA TEMPLE
Sculptural decorations perfectly blended
with the architecture relieve the heavy
solidity of the structure.
Perforated windows were alternated with
niches.
One or two pilasters separate the niches
from the windows.
These pilasters constricted just below the
capital like a neck and shoulder under the
head are among the first example of the
characteristic Dravidian order.
The Virupaksha Temple of Pattadakal signifies the high watermark of the Early Chalykyan architecture. This temple was built in commemoration to the victory of the Chalykyas over the Pallavas of the
Kanchipuram.
Historic background
In fact the construction of this temple is attributed to Queen Lokamahadevi , queen of the then ruling king Vikramaditya II. An inscription on the eastern wall of the Virupaksha Temple narrates the
circumstances that led to the commissioning of this temple complex. Though the exact date is not known from the inscriptions, it is estimated that the construction was executed around the year 745 AD.
As mentioned earlier , this temple marks a major milestone in the history and architecture of the era. Vipupaksha Temple is probably the largest and most sophisticated temple the Early Chalykyas ever
attempted. This is one of the earliest ,complete and even today the best preserved specimen of Chalykya art.
From an architectural point, the Chalykyas took inspiration from the Kailasanatha temple of Kanchipuram. The resemblance between the two is striking. So is the similarity of Virupaksha Temples tower with
that of the much famous shore temple at Mahabalipuram in Tamilnadu. Later the Virupaksha Temple inspired the design of the Kailasanatha temple built by the Rashtrakootas in the present day Ellora.
While the temples of Kanchipuram, Mahabalipuram and Pattadakal were executed on sandstone, the Kailasanatha Temple of Ellora is fine example of rock cut architecture out of volcanic outcrop. Incidently
Mahabalipuram and Ellora are UNESCO world heritage sites like Pattadakal.
The victorious Vikramadithya II is believed to have astonished at the beauty of the temples at Kancheepuram. It is likely that he brought along with him some of the famous architects of the Pallava country to
make similar style temples in the Chalykya capital.
The inscriptions near the eastern gateway reads about its architect named Gunda as the most eminent sutradhari (architect) of the southern country( the Tamil country).
While the Virupaksha temple was built by Lokamahadevi the adjutant Mallikarjuna Temple was built by her sister. Both were queens of Vikaramaditya II, and built for the same purpose to commemorate the
victory of the Chalukyas over the Pallavas. The Virupaksha Temple has many distinctions. For example this temple complex together with its massive entrance towers (Gopuras) and the compound walls were
conceived and completed together. This is a deviation from the typical practice of many patrons enhancing a popular temple over a long period with architectural additions. Also Virupaksha temple is the earliest
and the most ambitious of the temple building ventures by Early Chalyukyas.
The first thing you notice of the Virupaksha Temple is its many fluted towers projecting over the boldly executed outer walls. The whole temple complex is oriented in a east-west axis with two massive towers
at the east and west end of the partially damaged compound wall. The eastern tower in fact faces Malaprabha river front. The outer compound wall traces the general plan of the Virupaksha Temple. Thanks to
its innovative design, when you view from a distance the compound wall looks as if it is the lower story of the temple (with the towers protruding over it) , and the temple looks much larger.
As you cross the eastern gateway, the first structure is the Nandi Mantapa (Bull Pavilion). Further ahead on the same east-west axis is the open hall (Mukha Mandapa) with three porches and a connecting
corridor at its east to access the sanctuary through an antechamber.
RASHTRAKUTHAS PERIOD
KAILASANATHA TEMPLE, ELLORA
RASHTRAKUTHAS PERIOD
KAILASANATHA TEMPLE, ELLORA
The Kailasanatha Temple at Ellora dates
back to the period of the 8th century
Rashtrakoota ruler Krishna I . It was
built during the period 757 and 773 CE.
The Kailasanatha Temple is a Saivite
Temple located near Maharastra in
western India.
It is grouped in a family of structures
referred to as the Ellora Cave Temples
and is one of dozens of Hindu, Buddhist,
and Jain temples among the structures.
The Kailasanatha is generally regarded
to have been excavated in the mid-8th
century during the Rastrakuta Dynasty,
inscriptions claim during the rule of
Krisnaraja I.
It is constructed out of a single rock.
RASHTRAKUTHAS PERIOD
KAILASANATHA TEMPLE, ELLORA
There are both Vaisnavite and Saivite subjects scattered liberally about the temple structure
There are also many depictions of the Dikpalas, naga, and River Goddesses, though they
never appear quite as important as the sculptures of Siva, Vishnu, and Brahma, usually
appearing smaller and or made to look as if standing further back
RASHTRAKUTHAS PERIOD
KAILASANATHA TEMPLE, ELLORA
A gateway, an enclosure for
Nandi, and a mandapam line
up in front of the sanctum
which is crowned with a
vimanam, composed of
successively receding storeys,
decroated with miniature
buildings.
The mandapam in front of the
sanctum is an enormous
hypostyle hall with carved
pillars.
On either side of the Nandi
Mandapam are two 50 feet
high obelisk like pillars
decorated with frieze carvings.
RASHTRAKUTHAS PERIOD
KAILASANATHA TEMPLE, ELLORA
A collonaded gallery running along the bottom
of the cliff face, forms a deep narrow passage
that surrounds the temple.
In between this cliff face and the temple is the
pradakshinapatha.
The narrow passage mentioned above has two
storeys of hypostyle halls and porticoed
galleries
The temple covers an area of over 60000
square feet, and the vimanam (tower) rises to a
height of about 90 feet.
It is to be emphasized over and over again, and
seen to be believed that the entire monument
was made by excavation and not by
construction.
RASHTRAKUTHAS PERIOD
KAILASANATHA TEMPLE, ELLORA
RASHTRAKUTHAS PERIOD
KAILASANATHA TEMPLE, ELLORA